Hello
-Original Message-
From: TaoCG tao_lilypondu...@gmx.net
Date: Sat, 26 Feb 2011 04:52:04 -0800
To: lilypond-user lilypond-user@gnu.org
Subject: Re: How to use Markup for Barnumbers?
Robin Bannister wrote:
You can bypass the #'text property with
replaceBN =
Hello,
I ever asked 3 signs, and 2 (portato and martellato) have been solved. Now I
just finished my second orchestral work and am revising. The articulation makes
my head big. There are many mezzo-staccatoed notes, but I just used portato. I
think it's not correct, because it's just a line.
胡海鹏 - Hu Haipeng hhpmu...@163.com writes:
Hello,
I ever asked 3 signs, and 2 (portato and martellato) have been
solved. Now I just finished my second orchestral work and am revising.
The articulation makes my head big. There are many mezzo-staccatoed
notes, but I just used portato. I think
And anyway, the notation manual contains pictures of the various
accents, and apparently the combination is called tenuto and has
its own entry syntax and shorthand.
The question is whether the verbal descriptions in the manual are
expressive enough so that blind users like Hai-Ping have a
Hiapeng,
-Original Message-
From: 胡海鹏 - Hu Haipeng hhpmu...@163.com
Date: Sun, 27 Feb 2011 17:35:18 +0800
To: lilypond-user lilypond-user@gnu.org
Subject: mezzo staccato
Hello,
I ever asked 3 signs, and 2 (portato and martellato) have been solved.
Now I just finished my second
On Sun, Feb 27, 2011 at 10:20:53AM +, James Lowe wrote:
Hiapeng,
In my theory book, a mezzo staccato is a line plus staccato. But I
don't know whether c4-.-- does this correctly.
This works, as does
c4-_
If the notes are tied I just used something like
c4-.( c4-. c4-.)
And
-Original Message-
From: 胡海鹏 - Hu Haipeng hhpmu...@163.com
Date: Sun, 27 Feb 2011 18:32:51 +0800
To: James Lowe james.l...@datacore.com
Subject: Re:Re: mezzo staccato
Thank you very much! THen, what's the difference (visual shape or
position) between c-- and c-_?
Haipeng
Ah...that's
Hello...
-Original Message-
From: Graham Percival gra...@percival-music.ca
Date: Sun, 27 Feb 2011 10:34:38 +
To: James Lowe james.l...@datacore.com
Cc: 胡海鹏 - Hu Haipeng hhpmu...@163.com, lilypond-user
lilypond-user@gnu.org
Subject: Re: mezzo staccato
Off the top of my head, I would
Hello,
It seems that Lilypond from 2.13.47 has problem including some text fonts
(at least on my OS X installation).
Some fonts work (Courier Neue, for instance), other do not work (Courier, or
many others including Mididesign font like Sonora or Controla). I deleted
the lilypond font cache
See below:
- Original Message -
From: flup2 phili...@philmassart.net
To: lilypond-user@gnu.org
Sent: Sunday, February 27, 2011 11:00 AM
Subject: Last 2.13 releases and custom text fonts
Hello,
It seems that Lilypond from 2.13.47 has problem including some text fonts
(at least on my
Thanks for the suggestions. Will try to compile Emmentaler with a new narrow
version of the MI but perhaps slightly deeper so it looks big enough. Examining
an old but beautiful book I have has all notes the same width but the Mi seems
to extend a tiny bit higher/lower than other notes.
Have had the same issue -- also using a Mac. Found that installing some fonts
directly in the System fonts folder fixed the problem -- but not always. Seems
to be pango related I think.
On 27 Feb 2011, at 1:05 PM, Phil Holmes wrote:
See below:
- Original Message - From: flup2
Thank you all!
Haipeng
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Timothy Sheasby schreef op zo 27-02-2011 om 13:11 [+0200]:
Have had the same issue -- also using a Mac. Found that installing some fonts
directly in the System fonts folder fixed the problem -- but not always.
Seems to be pango related I think.
This is an oops, fixed in GIT.
Jan.
On 27
On 2/27/11 4:09 AM, Tim Sheasby t...@sheafpublishing.co.za wrote:
Thanks for the suggestions. Will try to compile Emmentaler with a new narrow
version of the MI but perhaps slightly deeper so it looks big enough.
Examining an old but beautiful book I have has all notes the same width but
Added narrow versions of Mi to mf source file. Having problems getting the
dependencies set up so I can compile it in Mac OS X Snow Leopard. Have been
using MacPorts to accomplish this but it fails when I try to install FontForge.
Don't want to make the version public till I know it will work.
On 2/27/11 8:38 AM, Tim Sheasby t...@sheafpublishing.co.za wrote:
Added narrow versions of Mi to mf source file. Having problems getting the
dependencies set up so I can compile it in Mac OS X Snow Leopard. Have been
using MacPorts to accomplish this but it fails when I try to install
On Sun, Feb 27, 2011 at 05:38:46PM +0200, Tim Sheasby wrote:
Added narrow versions of Mi to mf source file. Having problems
getting the dependencies set up so I can compile it in Mac OS X
Snow Leopard. Have been using MacPorts to accomplish this but it
fails when I try to install FontForge.
Hello,
First, excuse me if I make spelling mistake (I'm French and my English isn't
very good).
This is my problem : when in lilypond I use \ and \! to have crescendo, the
crescendo is made with many little horizontal ligne. For exemple see here :
2011/2/27 tobias bora tobias.b...@gmail.com:
Hello,
First, excuse me if I make spelling mistake (I'm French and my English isn't
very good).
This is my problem : when in lilypond I use \ and \! to have crescendo, the
crescendo is made with many little horizontal ligne. For exemple see here
MusFelix musfelix at live.com writes:
Thanks. I'll try a hidden grace in the other voice to see what that
produces.
[...]
{ \appoggiatura fs'8 es8( ds es-.) }
\\ { gs,4 b8}
Based on your posted image, it looks like you are seeing the problem where
Lilypond forgets the
tobias bora tobias.b...@gmail.com writes:
This is my problem : when in lilypond I use \ and \! to have
crescendo, the crescendo is made with many little horizontal ligne.
For exemple see here :
http://www.cam.hi-ho.ne.jp/oishi/lilypond/crescendo.gif (that's a bit
much...)
That looks rather
Nick Payne nick.payne at internode.on.net writes:
See below. The output is fine until I add the '\3' string number
indication to the last note on the lower stave, at which point the
output gets garbaged. The problem doesn't happen if the string number
orientation is set to down rather
Hi,
I have a score with a reccurent rythmic pattern.
This is an example :
\times 2/3 {c16\[(d c\!) } e16 \staccato c \staccato]
I want to create some kind of template to save me typing the code many times.
I'm not sure template is the appropriate word, perhaps something like a C macro
would be
Hello,
I've been trying to fathom how to reduce the between space two grouped
staffs. I'm obviously not understanding the Notation Reference as I have
tried a variety of places where I have pasted what I think is the correct
settings but nothing seems to change the defaults.
My construction is
On Sunday 27 February 2011 14:35:51 voyageur wrote:
Hi,
I have a score with a reccurent rythmic pattern.
This is an example :
\times 2/3 {c16\[(d c\!) } e16 \staccato c \staccato]
I want to create some kind of template to save me typing the code
many times.
I'm not sure template is
Hello
-Original Message-
From: voyageur voyageur.galacti...@gmail.com
Date: Sun, 27 Feb 2011 19:35:51 +
To: lilypond-user lilypond-user@gnu.org
Subject: Creation of a generic pattern
Hi,
I have a score with a reccurent rythmic pattern.
This is an example :
\times 2/3 {c16\[(d c\!) }
pkx166h wrote:
I'm more intrigued to know why you'd have bar numbers in pairs like this.
That is if they are just repeats then you are repeating bar X but if it is
a new bar then it is a new bar if you see what I mean.
Well in my case the new bar is different to bar X in the vocal and
Thanks Carl but had just thought I might try to compile it myself with Ubuntu
in VirtualBox when Graham pointed me to the help-us page and the lily-dev
setup. Will try that first. Keeping my fingers crossed.
On 27 Feb 2011, at 5:51 PM, Carl Sorensen wrote:
On 2/27/11 8:38 AM, Tim Sheasby
Trevor
-Original Message-
From: Trevor Daniels t.dani...@treda.co.uk
Date: Sun, 27 Feb 2011 21:03:08 +
To: James Lowe james.l...@datacore.com
Subject: Re: Trouble Understanding VerticalAxisGroup - advice needed please
Hi James; you wrote Sunday, February 27, 2011 8:29 PM
I've been
pkx166h wrote:
All the example shows in the NR is to add a '\with' between the existing
\*Staff and the rest of the { } expression and put the \override after the
{. So the braces are already in place.
I haven't actually 'added' any new braces - again as per the example.
So what is
James
I'll restate the tiny example here again this tim e with the full
\with
statement implemented.
The closing bracket on the \with is misplaced. That's why
it's better to post an example that demonstrates the
problem, as your last post does.
Here's the correction:
MusicA = { a b c d }
Thank you for your answers.
From what has been said sofar, I see there is at least two possible directions
:
- scheme function
- preprocessor
The scheme solution seems a bit too verbose but I will study that
seriously. It can bring a lot of flexibility I will need in the future
Along with the
have you taken a look at this snippet:
http://lsr.dsi.unimi.it/LSR/Item?id=654
-Marc
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On Sat, Feb 26, 2011 at 12:29 PM, MusFelix musfe...@live.com wrote:
Thanks. But that only works when the articulation is on the notehead side,
not when it is on the bar side. See this:
\version 2.13.51
\include english.ly
\relative c'
{
\override Slur #'details
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